John Salim

......all this could leave the door wide open for Agfa to re-enter the market. I know they're not in the same league as EK or Fuji, but it's better than nothing ! John S :rolleyes:

Hi Jeremy, You could try asking Roger Sharman. He's an Arri + Bolex engineer based in France. eBay ID: http://myworld.ebay.co.uk/first-camera/ ( PM me if you want his email address ) John S :)

Thanks for that Phil, My friend's found a guy called Keith Wilton who runs a company called Filmtek. http://www.bfcc.biz/filmtek.html ( mainly involved in organizing conventions and producing programmes for 8mm, 16mm & 35mm film collectors ). I believe he used to work for the BBC and uses a Rank Cintel for telecine. John S :D

Chris, If you're using the carts straight from the fridge, then you're asking for trouble as the film will be a bit sticky ! You must de-frost them properly ...at least an hour or two. The Tri-X's may not be as sticky as the Ektachromes if you're using them straight out the fridge too. Other than that, Super 8 carts are really not prone to jamming unless they've been tampered with - or if there's a manufacturing fault of course. John S

Super 8 cartridges shouldn't jam at all as they use a very simple film path. I'm wondering Chris, is it possible your E100D's carts have been stored somewhere really humid ? ( to make the film sticky ). It would have to be very humid though ! Also, try pushing in the pressure pad a few times to make sure it's freely 'floating' in it's position. Just a thought. John S :blink:

Here's some info for you Niall..... http://www.super8camera.com/processing.php http://www.dagiebrundert.de/EK40.html Good luck ! John S :P

Ok, this may sound like a contradiction in terms, but does anyone know where I can point my friend to get his 100ft roll of 35mm reversal film telecined on the cheap ? Quality isnt the main priority here, as its actually ( new colour ) footage shot on an old DeVry cine camera to use on a website. Any leads would be great thanks all, John S :)

Here's a ( very poor res ) positive image of the neg. John S ;)

Hang on ! ..... isn't it the 1st of April soon ??? John S :P

You’re absolutely right Mark, you can’t run a ‘quality’ film processing line without control strips. I suspect we’ll have to start using Fuji’s. :unsure: .....also, I believe Tetenal makes Kodak’s E-6 chemicals nowadays ! John S

Jim, you should be worried, 100D is the same coating as E100VS ! Kodak discontinuing Ektachrome will include all packaged formats from 8mm to 10"x8" ( including E-6 control strips which are made from E100G ). It's a very sad day - all I use is Ektachrome ( in all formats ) John S :(

Hi Ken, You're going to need two adapters if you want to use both lens fittings ( M42 to Bolex bayonet ) and ( EOS to Bolex bayonet ). Your 35mm lenses will easily cover 'super 16' and will be the same focal lengths and f-stops. Don't forget, you'll be able to use extension tubes and bellows for extreme close-up work once you have the adapters and also accessories like 'Lens Babies'! John S :rolleyes:

Ah yes I forgot about SRB Mark, good call ! Ken, you'll need an EOS to Bolex bayonet adapter ( SBM is a bayonet mount body not C-mount ) and the Pentax lenses are excellent quality - though a bit long focal length wise. John S

Ken, I've never seen an EOS to Bolex adapter but I'm sure you can have one made. I don't know what country you're in but here in the UK, Les Bosher could probably make one at a price. ( I used to have a Nikon adapter when I had my SBM ). http://www.lesbosher.co.uk/ One thing to remember using 35mm SLR lenses is focal lengths are way longer than for 16mm. You'll find it nearly impossible to get wide enough wide-angles, although telephotos are practical ( albeit slow f-stop wise ). John S :rolleyes:

Ken, If you don't have a lens for your camera, all you'll see is nothing but some light as you move around. Look carefully and you should be able to focus the eyepiece and see the finely grained screen ( plus a fairly sharp edge frame ). If you have any camera lenses to hand ( an SLR camera lens will do ), you can try holding it near the lens port to focus an image on the screen. Do this using a tripod, and don't get too close ( ....to avoid damaging anything ). John S

Two of the ads ( from eBay seller 'kinemaman' ) actually states there's an eyepiece included but clearly not in his photos ! John S :angry:

Two of the ads ( from eBay seller 'kinemaman' ) actually states there's an eyepiece included but clearly not in his photos ! John S :angry:

I just wondered......does anybody know who would have been responsible for preparing Cinemascope movies to full-frame flat printing at the lab, particularly with film prints ( not to tape ). Would it be the movie's DoP, the editor or the labs technicians ? John S :rolleyes:

.....and there's the occasional use of split dioptre close-up lenses too ! John S

Sergio Leone shot a lot of Techniscope ( 35mm 2 perf ) i.e... spaghetti westerns and using this smaller frame film format with wide angle lenses stopped down gave a very deep depth of field or 'deep focus' John S :rolleyes:

Here's one on eBay !...... http://www.ebay.co.uk/itm/ARRIFLEX-16SR-BOOK-GUIDE-SYSTEM-VG-16mm-Movie-Camera-Manual-/140661173838?pt=LH_DefaultDomain_0&hash=item20c00f2e4e John S :P

Jon Fauer's 'Arriflex 16SR Book' a guide to the 16SR-1 and 16SR-2 system has some exploded views and plenty of technical information in it. Focal Press / ISBN: 0-240-80372-8 Worth a look ! John S :rolleyes:

Why not store two rolls in a 35mm can. John S

I wonder if the film cartridge's plastic pressure plate has been pushed in beforehand ? ....though I suspect the claw wouldn't engage properly in that situation. John S :unsure:

Zoe, Did you know no.w.here lab in London can process and print 16mm B&W link here... http://www.no-w-here.org.uk/index.php?cat=4&subcat=main John S :rolleyes: